‘L’Amour Toujours’ N°469 – Vintage 90s Music Videos

1 . Robert Plant – If I Were A Carpenter

Robert Plant’s take on “If I Were a Carpenter” carries a thoughtful blend of reverence and reinvention, a hallmark of his explorative post-Zeppelin trajectory.

Originally found on the 1993 album *Fate of Nations*, the track finds Plant stepping into Tim Hardin’s 1960s folk legacy, adorned by Maire Brennan’s ethereal backing vocals, which weave a Celtic thread into the fabric of the song.

Released as a UK single with modest chart success, its restrained presence didn’t overshadow the broader ambition of the album, which embraced diverse cultural influences with sophistication.

Plant’s live performances of the song during the album’s promotion added depth to the track, situating it within an introspective setlist that reflected his fleeting dalliances with world music aesthetics.

Hardin’s original, steeped in vulnerability, became a canvas for interpretations over decades, from Bobby Darin’s stripped-down acoustic hit to The Four Tops’ Motown soul rendition, reflecting a universal resonance.

Plant’s rendition may not eclipse these iconic covers, but it lends the song an understated gravitas, fitting neatly into the lineage while subtly expanding its emotive scope.

In the end, “If I Were a Carpenter” proves its enduring adaptability, functioning as a collaborative bridge between folk’s introspective elegy and Plant’s restless musical wanderings.

Featured on the 1993 album “Fate of Nations”.

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2 . Celine Dion – The Reason

Celine Dion’s “The Reason,” pulled from the blockbuster album *Let’s Talk About Love* (1997), often feels like a curious blend of star power and mismatched intentions.

On the one hand, it represents a meeting of giants, with Carole King, Mark Hudson, and Greg Wells penning the track and Jim Steinman stepping in as producer. On the other hand, its critical reception paints a different picture—an attempt at grandeur that doesn’t always stick the landing.

The song shines as a platform for Dion’s volcanic vocal delivery, but its mid-tempo balladry feels formulaic in places, a shadow of King’s better days as a songwriter.

While Entertainment Focus commended Dion’s vocal force, others, like *Music Week*, dismissed it as lacking the punch of her megahits.

Even *The New York Observer* didn’t hesitate to question King and Steinman collaborating for this production, citing it as behind the times.

Yet, the track has its moments of intrigue, particularly when considering its live renditions.

Dion famously teamed up with King to perform the song at *VH1 Divas*, which gave the piece a bit of dramatic flair that the studio version lacks.

Appearing as a double A-side with “My Heart Will Go On” in France, the track lived in the shadow of that Titanic juggernaut while still carving out its own sliver of legacy. Its bonus feature on Dion’s *Au cœur du stade* DVD offers a rare glimpse into its recording—perhaps more memorable than the single itself.

And then there’s the trivia: originally conceived for Aerosmith, the song’s crossover into Dion’s domain feels less like alchemy and more like a last-minute pivot.

Although it cannot be considered a hallmark of Dion’s catalog, “The Reason” reveals the fascinating churn of pop music—a place where big names, bold ambitions, and conflicting criticism coexist on precariously thin margins.

Featured on the 1997 album “Let’s Talk About Love”.

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3 . Michael Bolton – When a Man Loves a Woman

Michael Bolton’s 1991 interpretation of “When a Man Loves a Woman” takes Percy Sledge’s iconic 1966 classic and amplifies it with his signature, power-ballad intensity.

This version climbed to the peak of the Billboard Hot 100, a rare feat for a cover, catapulting Bolton further into international stardom.

Bolton’s vocals dominate the track, oscillating between tender restraint and full-throated emotional release, a dichotomy that defines his style.

The production, under Walter Afanasieff’s direction, leans on lush instrumentation, with swelling strings and organ flourishes creating a larger-than-life atmosphere.

Interestingly, Bolton initially felt dissatisfied with his vocals, circling back to re-evaluate and ultimately preserving the original take—perhaps proof that imperfection sometimes captures the most authentic emotion.

Critical responses were mixed; some praised the grandeur, while others questioned whether Bolton’s theatrical delivery overshadowed the raw vulnerability of Sledge’s version.

Despite occasional pushback, the cover’s success was undeniable, earning Bolton a Grammy for Best Pop Male Vocal Performance—though his oversight in crediting Sledge during his speech caused a minor stir.

Outside of accolades, the song’s cultural footprint includes playful nods like Jim Carrey’s exaggerated parody on *In Living Color*, juxtaposing sincerity with absurdity.

Bolton also delivered a memorable live rendition at the 1992 Grammys, with saxophonist Kenny G adding a smooth, contemporary touch to a timeless melody.

While purists may argue that Sledge’s raw soul is irreplaceable, Bolton’s rendition reintroduced the song to a new audience, cementing its place as a ballad that transcends generations.

Featured on the 1991 album “Time, Love & Tenderness”.

Lyrics >> Review >> More by the same : Official Site

4 . Lisa Stansfield – All Woman

Released in late 1991 as part of Lisa Stansfield’s sophomore album “Real Love,” “All Woman” presents an intimate portrait of relationships strained under the weight of unspoken pressures.

Stansfield, with the steady hands of her collaborators Ian Devaney and Andy Morris, crafts a narrative of unvarnished vulnerability that resonates beyond its deceptively simple structure.

The ballad unfolds as a slow burn, letting Stansfield’s emotive voice carry lyrics that peel back societal facades to reveal the quiet complexities of love and self-worth.

Despite its understated arrangement, or perhaps because of it, the song found itself atop the U.S. Billboard Adult Contemporary chart—an achievement that placed Stansfield among a rare echelon of artists crossing cultural genres with ease.

The music video, directed by Nick Brandt, extends the song’s empathetic core through visuals that emphasize human fragility rather than overshadow it.

What makes “All Woman” stand out is its welcome defiance of overproduction prevalent in early ’90s chart toppers, favoring rawness over polish.

This was not just Stansfield’s moment of commercial triumph; it was a quiet reclamation for introspective voices at a time when pop was leaning harder into hyper-commercialized waters.

Her trajectory, from an early role in Blue Zone to this nuanced spotlight, reveals the persistent evolution of an artist who never seemed content with surface-level platitudes.

While some tracks from her catalog lean heavier on groove, “All Woman” deliberately slows down, trading dance-floor accessibility for emotional resonance.

If anything, the song reminds us that subtlety, when done with precision, can dismantle walls more effectively than the loudest shout. It’s a moment where artistry trumps spectacle unequivocally.

Featured on the 1991 album “Real Love“.

Lyrics >> Review >> More by the same : Official Site

5 . Blondie & Iggy Pop – Well Did you evah

Blondie’s take on Cole Porter’s “Well Did You Evah!” pairs Debbie Harry with Iggy Pop in a partnership as unconventional as it is engaging.

Recorded for the 1990 AIDS benefit album *Red Hot + Blue*, the duet brings punk energy to a song historically associated with suave crooners like Bing Crosby and Frank Sinatra.

Where the original oozed cocktail-party charm, Blondie and Iggy inject it with playful irreverence, their banter teetering between flirtation and chaos.

Harry’s delivery oscillates between cool detachment and sharp humor, while Iggy’s gravelly tone underscores his role as the unruly counterpart.

The accompanying video, directed by Alex Cox, amplifies the track’s quirky spirit through scenes of New York grit and eccentric vignettes, including Iggy’s animal antics and Harry’s lingerie torching.

An homage to its origins, the duet still manages to carve out its own space, thanks to its anarchic vibe and punk-driven wit.

The *Red Hot + Blue* album, a showcase of Cole Porter reimaginings by major artists, reached global audiences and raised significant funds for AIDS research.

This particular track may not have seen commercial chart success, but its charm lies in its unfiltered personality and bold redefinition of tradition.

It’s not every day that a punk act tackles the golden age of musicals, and Blondie’s irreverent twist ensures it won’t be forgotten anytime soon.

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6 . Denise & Johnny – Especially For You

“Especially For You” by Denise Welch and Johnny McDaid is a 1998 retelling of the saccharine classic originally immortalized by Kylie Minogue and Jason Donovan a decade earlier.

Stepping out from the usual lineup of ITV’s “Stars in Their Eyes” Christmas special, Denise—best known for her dramatic chops on “Coronation Street”—and Johnny—a pre-Snow Patrol crooner—not so much updated the original as they borrowed its sentimentality and dusted it off for the stage lights.

Released as a charity single, their version tiptoed into pop’s romantic playground but never quite made a splash, relegated to the annals of ephemeral TV music moments.

Their cover, while vocally competent, lacked the sweeping gravitas of the Stock Aitken Waterman-era production that propelled the original to UK chart-topping glory.

If Minogue and Donovan serenaded the world with wide-eyed devotion, Denise and Johnny turned their performance into something more campy—an ode to charity spectacle rather than earnest pop emotion.

Despite its brief stint in the limelight, this rendition carved out a modest slice of nostalgia, kept alive by YouTube uploads that attract a mix of curiosity and affection for its time-capsule quality.

Featured on the 1998 album “Especially for You”.

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7 . Bryan Adams – Back To You

Bryan Adams’ “Back to You” emerges as a standout track from his *MTV Unplugged* album, recorded live in 1997 at the Hammerstein Ballroom in New York City. This acoustic piece manages to sidestep the pitfalls of overproduction, instead leaning on Adams’ raspy vocals and a stripped-back arrangement that feels refreshingly intimate.

The live rendition is bolstered by the inclusion of Irish violinist Máire Breatnach and longtime collaborators Keith Scott and Mickey Curry, whose synergy infuses the performance with a tangible warmth. Instead of the bombast typical of live albums, this track thrives on nuance, from the subtle interplay of guitar and strings to the restrained yet evocative rhythm section. It’s the kind of collaboration that highlights Adams’ knack for marrying pop sensibilities with rock authenticity.

Released as a single in late 1997, “Back to You” secured respectable chart positions across Canada, the UK, and Europe. In Canada, it held the top spot on the RPM Top Singles chart across three nonconsecutive weeks—a testament to its staying power. Elsewhere, its presence wasn’t seismic but remained noticeable, peaking within reasonable distance of the top chart tiers in regions like Australia and Hungary.

While lyrically centered on themes of nostalgia and love, the track avoids syrupy sentimentality, opting instead for a more grounded take on longing and connection. Its chorus is effortlessly singable without feeling overly engineered for mainstream appeal, a fine line that Adams walks with skill. Critics from publications such as *Billboard* praised its acoustic charm and breezy yet emotive delivery, acknowledging its crossover potential among pop and rock audiences.

The track later found its way onto Bryan Adams’ 1999 compilation album *The Best of Me* and was re-recorded for 2022’s *Classic Pt. II*. Both iterations reaffirmed its enduring appeal, but neither could quite recapture the raw immediacy of the original unplugged performance. That night in New York remains the song’s definitive moment, framed by an arrangement that amplifies its charm without overshadowing its simplicity.

A footnote to the night of the recording includes two B-side gems, “Hey Elvis” and a medley featuring “Can’t Stop This Thing We Started / It Ain’t a Party…If You Can’t Come ‘Round,” the latter exclusively available on the *MTV Unplugged* DVD. All these elements combined convey a sense of cohesion, showcasing Adams’ ability to adapt his work to an unplugged setting without losing its core appeal.

In hindsight, “Back to You” feels like one of those rare moments where commercial ambition and artistic integrity coexist peacefully. It didn’t reinvent Adams’ career or redefine acoustic performances, yet it carved its own space, earning a level of admiration that has stood the test of time. It’s a track less concerned with being iconic and more invested in doing justice to its emotional underpinnings. For an artist often tied to the grandiosity of arena anthems, this song thrives in its relative quietude—a fleeting but memorable instance of Bryan Adams going back to basics.

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8 . The Farm – Love See No Colour

“Love See No Colour” by The Farm channels the early ’90s indie-dance crossover scene, merging pop accessibility with social consciousness in a way that made it a memorable piece of the Madchester and rave era.

First released as a single in 1991 and later included on the band’s second album, this track leaned into a danceable groove while carrying a message of racial harmony that felt both earnest and timely.

With production credits from Madness’s Suggs and dance scene stalwart Terry Farley, the song achieved a polished yet distinctly era-specific sound.

Charting modestly at number 35 on the UK Singles Chart, it didn’t quite capture the zeitgeist like The Farm’s “All Together Now,” yet it remained an anthem of sorts for those enamored with its hopeful message and shimmering beats.

Meanwhile, U96’s “Love Sees No Colour” went in a completely different direction, diving headfirst into the German electronic scene with relentless Eurodance energy and a near-minimalist lyrical approach anchored solely by the track’s title phrase.

It exploded across European charts in the early ’90s, with its relentless rhythm and precise production drawing obvious comparisons to the mechanical precision often associated with German engineering. Damon Albarn and Alex James of Blur cheekily labeled it “Vorsprung durch Technik music.”

The inclusion of male vocals became a defining element for U96, adding a layer of robustness to the pulsating synth basslines and airy melodies.

Critics found entertainment in its rave appeal, laughing as much as they danced, with its dated yet weirdly charming retro-futuristic hooks working their way into some kind of infectious nostalgia loop.

Both tracks, though radically different in genre and vibe, shared a thematic link through their anti-prejudice messages, offering unity from polar opposite musical approaches.

While The Farm’s version feels like a rallying cry for diverse dancefloors, U96’s feels like a neon-lit joyride through a techno utopia where repetition makes its point by sheer endurance.

Featured on the 1992 album “Love See No Colour”.

Lyrics >> Review >> More by the same : Official Site

9 . 911 – Don’t Make Me Wait

Released as the third single by the English boy band 911, *”Don’t Make Me Wait”* captures the essence of 1990s British pop with a polished yet unpretentious charm.

Charting at number 10 on the UK Singles Chart, it became the group’s first top 10 hit, marking their transition from relative newcomers to chart regulars.

Critics were relatively kind, with *Music Week* labeling it a solid mid-tempo track that hinted at the band’s promise.

Outside the UK, the song’s reception was more muted, peaking at 65 in Germany and 92 in Australia—decent numbers but far from groundbreaking.

The production, spearheaded by Eliot Kennedy alongside Mike Percy and Tim Lever, leans into the radio-friendly sound typical of the boy band era: layered harmonies, a catchy chorus, and a slick underlying beat.

It also came packaged with alternate versions like the Alex & Ber Project Version and Smash Hits Version, which helped cater to niche listeners and remix enthusiasts.

Part of their debut album *The Journey*, the track was accompanied by B-sides such as “Vision in My Mind” and “Carefree Lover,” showcasing their attempts at thematic and stylistic variety.

Perhaps most intriguing is how the group utilized multiple formats, including extended and Latino mixes across two CDs—a clear invitation for collectors to deepen their connection with the band during the peak of boy band mania.

Featured on the 1996 album “The Journey”.

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10 . Bad Boys Inc – Walking On Air

Bad Boys Inc’s “Walking On Air” exists as a time capsule of early ‘90s pop, evoking an era when boy bands operated like well-oiled machines in matching outfits and synchronized choreography.

The quartet—David Ross, Matthew Pateman, Tony Dowding, and Ally Begg—rides the pop wave here with standard-issue optimism and romantic idealism that suffused the genre at the time.

Under Ian Levine’s production, the track leans heavy on polished hooks and airy synths, crafting a sound engineered for chart ambitions rather than artistic boldness.

Lyrically, it trades in familiar tropes—love as euphoria, the world recast in hypercolors when romance enters the frame.

The accompanying music video, drenched in dreamy sequences and literal interpretations of its title, smacks of boy band excess but charms in its unabashed commitment to the decade’s visual aesthetics.

Though it peaked modestly at number 36 in the UK singles chart, its presence on British shows like “Top of the Pops” gave it a gloss of cultural legitimacy, however fleeting.

If nothing else, the song is a case study in manufactured joy, offering a momentary escape to fans before vanishing into the churn of pop’s rapid turnover.

Featured on the 1994 album “Bad Boys Inc”.

More by the same : Official Site

11 . MN8 – Baby It’s You

By the time MN8 dropped “Baby It’s You” in 1995, their polished R&B textures were already carving a niche in the UK music scene.

The track, from their debut album *To the Next Level*, sought to build on the momentum of their earlier singles, but its charm landed in an interesting middle ground—not quite a chart-topper, yet undeniably memorable.

Written by Steve Ripley, the song entered the UK Singles Chart at No. 22, enjoying a modest five-week stint but lacking the staying power of the group’s breakthrough hit, “I’ve Got a Little Something for You.”

What “Baby It’s You” does well is its fusion of smooth harmonies with contemporary R&B grooves, while its array of remixed versions gave it extra life on club circuits.

The “OJI West Coast mix” added a sun-kissed vibe, while “The Argonauts club mix” pushed it further into night-out territory.

The song’s B-side—a Jodeci remix of “Happy”—underscored MN8’s positioning within a broader R&B framework, hinting at their affinity for genre experimentation.

The music video, with its choreographed precision and shiny suits, was unapologetically mid-’90s, delivering sheen over substance in a way that perfectly mirrored the era’s aesthetic sensibilities.

Critics like *NME* lauded its slickness, dubbing it “sweet pop-soul personified,” though this faint praise reflected a restrained enthusiasm for the track’s overall impact.

Despite its lack of a defining edge, “Baby It’s You” resonated enough to sneak into the upper echelons of the UK Hip Hop/R&B chart at No. 6, carving out a small but dedicated audience.

It’s a track that exists comfortably within its time, capturing the polished-but-safe tendencies of British R&B as it stood under the shadow of its American counterparts.

While it didn’t rewrite the rules of the genre, “Baby It’s You” remains a quintessential reminder of MN8’s brief but impactful run during the vibrant mid-’90s music landscape, all glitter and groove intact.

Featured on the 1995 album “To the Next Level”.

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12 . UB40 – Homely Girl

UB40’s “Homely Girl” reimagines the Chi-Lites’ 1974 track, trading the original’s smooth soul for a reggae-infused groove.

Released in 1989 as part of the group’s “Labour of Love II” album, the song managed to squeeze its way into the UK Singles Chart at a respectable number six—proof that sometimes nostalgia sells when wrapped in a sunny rhythm.

The album itself was a sort of jukebox love letter, filled with covers that took old hits and bathed them in UB40’s signature laid-back, island-inspired vibe.

Commercially, it worked, with the record going Platinum in the UK—one of those “why fix what’s already working” moments in music history.

“Homely Girl” stands out not just for its shimmering arrangements but also for its borderline corny sentimentality, which, surprisingly, adds to its charm.

The accompanying music video was heavy on narrative, likely a choice to bolster the song’s lyrical themes that teeter on the edge of heartfelt and schmaltzy.

For all the band’s reggae prowess, this particular rendition feels like a warm, comforting hug, even if it doesn’t exactly reinvent the wheel.

UB40’s knack for blending familiar tunes with their chilled-out sound remains the takeaway here, proving that sometimes you can pour a little reggae over a bygone melody and still hit pay dirt.

Featured on the 1989 album “Labour of Love II”.

Lyrics >> More by the same : Official Site